The Great Organ, Methuen Memorial Music Hall, Iain Quinn. Walcker/Aeolian-Skinner/Andover, 115 ranks; Raven OAR 360, $14.98,
www.ravencd.com.
Bach, Prelude and Fugue in G, BWV 541; Liszt, Gebet, S. 265, Ora pro nobis, S. 262, Resignazione, S. 263; Franck, Choral No. 3 in A Minor; Askell Masson, Meditation; Wilfred Josephs, Sonata; Leslie Howard, Moto di Gioia.
Fasten your seatbelts, as the saying goes, for Bach’s Prelude and Fugue in G Major, which is played at a furious clip—the Prelude in under three minutes! This is followed by sympathetic performances of three of Liszt’s lesser known pieces: Gebet, Ora pro nobis, and Resignazione, quiet compositions that show off the rich softer sounds of this legendary instrument. An exuberant playing of Franck’s Choral in A Minor follows, showing the color and variety available on this noble organ.
The three final compositions on the CD are of great interest in that each is dedicated to Mr. Quinn, although whether they remain in manuscript is not indicated. The first is a Meditation (1992) by the Icelandic composer Askell Masson, based on the third movement of his marimba concerto. It has a quiet improvisatory character that is compelling, with a slight buildup towards the end. Wilfred Josephs’ Sonata (1992) follows—a work of considerable musical interest. Its four-minute “Andante” would make a lovely voluntary, as would the brief “Vivo” if your technique is up to the challenge. The Moto di Gioia (1993) by Leslie Howard brings this splendid CD to an close. The six-minute work sounds very difficult—double pedaling and all that—but Quinn is up to every musical challenge.
—Charles Huddleston Heaton
Pittsburgh, Pennsylvania
[email protected]
New Recordings: Methuen Memorial Music Hall, Iain Quinn
Related Content
New Recordings
French Eclat in the Roanoke Valley, Thomas Baugh, organist; 2004 Fisk organ, 32 stops, Christ Episcopal Church, Roanoke, Virginia. Raven Recording OAR 850,
www.ravencd.com.
It is always interesting to me to hear a recording of a modest sized-instrument of great effectiveness played with style and imagination, which is the case here. Thomas Baugh has been director of music of the church for twenty years. This varied program, well played, gives a convincing demonstration of the tonal possibilities, beginning with Gerre Hancock’s typically complex Toccata.
Following familiar de Grigny (Récit de tierce en taille) and Balbastre (Noël, Où, s’en vont ces gais bergers) is a very fine arrangement of Gabriel Fauré’s Pelleas et Melisande Suite, done by Mr. Baugh—it includes the charming “Fileuse” and the more familiar “Sicilienne.” This organ transcription should be published. Effective treatments of the hymn tune Nyland by Roanoke colleague Richard Cummins and Robert Roth’s Improvisation on “The Infant King” follow, then Searle Wright’s Introduction, Passacaglia and Fugue, an important work by any standard, is beautifully performed with imagination. Two works by Bach are the final selections: Wir glauben, BWV 740, and the Prelude and Fugue in C, BWV 547. It is worth noting that four of the twelve compositions have a premiere recording here. Kudos!
--Charles Huddleston Heaton
Pittsburgh, Pennsylvania
[email protected]
New Recordings
The Organ Music of Gerald Near; Steven Egler, organist; 1997 Casavant, 61 ranks, Central Michigan University. Disc 1: Choraleworks (complete), disc 2: Suite in Classical Style and Sonata in F-sharp Minor. White Pine Music, WPM 203,
www.whitepinemusic.com.
While CDs of the music of a single composer are plentiful enough from bygone eras (Bach, Franck, etc.), it is more unusual in the case of contemporary composers. Most active church organists will have played some of Near’s attractive music, much of which is of modest difficulty. The three sets of Choraleworks are based almost entirely on familiar hymn tunes or chorales. They are brief and usable as voluntaries or introductions to the singing and some would be effective in recital. Egler clearly enjoys these pieces, and his playing and the instrument show them to advantage. There are 28 of these imaginative chorales on the first disc.
Two substantial works comprise the music of the second CD. The Suite in Classic Style, with the excellent addition of the skilled flutist Frances Shelly, is the first, followed by the Sonata in F-sharp Minor. The Suite is beautifully written and performed here with exemplary style. It is a wonderful addition to the repertoire. The 2001 Sonata is a substantial work, with the sections entitled “Chaconne,” “Lento,” and “Fugue.” Dr. Egler’s colorful registrations and understanding of the styles show these compositions to ultimate advantage.
--Charles Huddleston Heaton
Pittsburgh, Pennsylvania
[email protected]
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